Robbie Carman, co owner of postproduction finishing company Amigo Media, excitedly joined the project in 2012 as its colorist. As with every other aspect of the film, the deadlines were short and finances were tight. Robbie turned to DaVinci Resolve to get the job done.

Before

After

First, Robbie received the cut film from the editors. The film was edited in Adobe Premier Pro using footage from various source media at different frame rates and frame sizes. In Resolve 9, selecting the “Handle mixed frame rate material” checkbox in the Master Project Settings panel allowed Robbie to painlessly conform the project.

“There was a lot of snow in this movie. It’s a difficult element to grade and get the tonal ranges to match, so each scene flows seamlessly into the next,” Robbie described. By viewing the clips in Gallery mode or using a Split Screen of two shots, he could easily compare the tone of each shot. The power of multi GPU processing and the Resolve Control Surface also sped up the entire workflow, providing tactile control over every single parameter.
For the interview scenes, Robbie relied on the flexibility of Resolve’s Power Windows and tracking. By placing Power Windows in a scene, he could sharpen the features of an interviewee’s face or darken and blur a window, making the interview even more compelling.

Before

After

“One of the ENG cameras was set on Auto Iris and Auto Exposure during the shoot,” said Robbie. “As the camera moves and subtle light changes happen, the exposure fluctuates. Covering the more gratuitous exposure changes with key frames in Resolve is very easy and it makes the film flow much better.”

Once he had finished the grade, Robbie used Resolve to quickly and simultaneously render out H.264 and ProRes versions of the film. “Having all the deliverables for review in one place at the same time is a huge productivity booster,” Robbie explained. “I don’t have to go back to Final Cut Pro or Premier to render out new files. By doing it all it Resolve, it’s a huge time saver.”

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Released: DaVinci Resolve Lite

DaVinci Resolve Lite includes all the same high quality processing of the full DaVinci Resolve. However it limits projects to HD resolutions or less, only two color correction nodes, a single processing GPU and a single RED rocket card. Stereoscopic 3D features, noise reduction, Power Mastering, remote grading, and sharing projects using an external database server are features only offered in the full DaVinci Resolve and so are not included in this free DaVinci Resolve Lite edition. Customers who want to eliminate these restrictions can purchase the full DaVinci Resolve Software for only A$1,047.20

The removed features seem pretty reasonable. The 2-node restriction doesn’t allow for the more complicated Parallel, Key, and Mix nodes – which are ‘power user’ features. Yet it still supports a GPU + Red Rocket card.

BlackMagic has struck a nice balance between giving away a very powerful color grading solution but holding back enough key features that owners of the paid versions won’t complain too much.

The download can be found here. Select MacOS > DaVinci Resolve > DaVinci Resolve Lite then fill in your details to download this free app.

3-Way Color Subtab

This Lite version is pretty big news but don’t lose sight of a brand new interface that makes this Lite version much more accessible to the people most likely to use it… mouse-only desktop colorists. That’s right, this new version of both Resolve for Mac and Resolve Lite now include a new 3-Way Color Panel. See my accompanying blog post about the new 3Way interface and the modifiers you can use with it to enhance your experience grading with a mouse on Resolve.

iMac and MacBookPro Support

One of the big features of version 8 is Open-GL support, allowing Resolve to run on non-Nvidia cards (except for the new Noise Reduction feature which is CUDA – only and requires one of the supported NVidia cards). This opens up DaVinci from being a tower-only app to also running on iMacs and MacBookPros. Due to the limited architectures of these machines, DaVinci describes the ideal workflows for these two particular configurations:

MacBook Pro

Ideal for ‘SD Grading and SD / HD Shot Preview’ suited for:

On-set, pre-grade, previewing and training

Real-time processing of SD DPX files

Apply shot by shot ‘look’ grades to HD images (for later grading in a MacPro or Linux workstation)

Supports internal SATA or SSD storage options (BlackMagic recommends the biggest internal SSD you can afford for the best performance)

iMac

Best for ‘SD or HD 720p Grading’ suited for:

Pre-grade, Previewing and Training

Realtime processing of 720p images

Preview, grade, render HD images

Internal SATA or SSD storage options (again, they recommend a big internal SSD for performance with FireWire, USB, or Internal SATA only for low resolution images if realtime performance is required)

Resolve & Lite: Supported Configurations

Lite may be free but it’s still powerful and requires a very modern Graphics Processing board in iMacs and MacBook Pros for it to work properly. Version 8 was re-written to support Open-GL – the programming language that Apple has embraced for it’s graphics cards. For MacBook Pros, here’s the relevant requirements for optimal performance of Resolve and Resolve Lite:

The MacBook Pro contains two GPUs; one for high performance graphics and the other for better battery life. It is essential to enter the Energy Saver preferences, in the System Preferences of Mac OS X, and select the high performance graphics option. Failing to do so will render Resolve unusable. On the mid 2009 model, set the Graphics radio button to â€œHigher Performanceâ€. On the mid 2010 and early 2011 models, disable the â€œAutomatic graphics switchingâ€ checkbox.

At the time of its release (Late July 2011) here are the specific MacBook Pro Specs:

17-inch, Mid 2009, 2.8GHz Core 2 Duo

17-inch, Mid 2009, 3.06GHz Core 2 Duo

17-inch, Mid 2010, 2.53GHz Intel Core i5

17-inch, Mid 2010, 2.66GHz Intel Core i7

17-inch, Early 2011, 2.2GHz Intel Core i7

17-inch, Early 2011, 2.3GHz Intel Core i7

Operating System: Mac OS X 10.6.7

RAM: 8 GB

Also as of late July 2011, here are the specific iMac Specs:

21.5-inch, Mid 2011, 2.5GHz Intel Core i5

21.5-inch, Mid 2011, 2.7GHz Intel Core i5

21.5-inch, Mid 2011, 2.8GHz Intel Core i7

27-inch, Mid 2011, 2.7GHz Intel Core i5

27-inch, Mid 2011, 3.1GHz Intel Core i5

27-inch, Mid 2011, 3.4GHz Intel Core i7

Operating System: Mac OS X 10.6.7

RAM: 8 GB

What About Mac OS Lion?

According to an email I received from BlackMagic – Resolve 8.0.1 and Resolve Lite 8.0.1 Public Beta are both Lion-ready. Decklink users should update to the latest drivers, which are also Lion-ready. I myself haven’t had time to test it. I suggest running these configurations on a separate boot drive or partition to make sure everything is working properly before putting it into a production situation.

As usual, Apple has been listening to us and have introduced their second big FCP X update since the app “shipped” via the Mac App Store in late June 2011. We had the first update in September 2011, which brought XML, media stems and more; a minor bug fix in November; and now another major update for January 2012. I mention this first, because Apple usually released major updates to past versions of FCP every year or so. I believe FCP 7 only got two major updates and a minor one after it shipped in August 2009. So we’ve had just as many in seven months, and everything comes through quickly via the Mac App Store!Apple’s Richard Townhill, senior director of applications marketing, took time to talk on the latest major update to Final Cut Pro (http://www.apple.com/finalcutpro/), ver. 10.0.3. Apple is delivering multicam support, broadcast monitoring via third-party PCI-e cards and boxes (in beta, along with Thunderbolt), advanced chroma keying features, XML 1.1, the ability to import layered Photoshop graphics (PSD), and media relinking.

The big feature is Multicam, and as usual, Apple doesn’t just add in the feature to FCP X, but they make it better and easier to use. You can mix up to 64 different camera angles and sources, using mixed formats, codecs, frame rates and frame sizes, and also you can mix stills with the video. Syncing has always been tricky with multicamera editing, but FCP X makes it simple with their auto sync feature, which will sync up video and audio based on timecode (all cameras have to have matching timecode) or a time-and-date stamp (again, all cameras must match). You can also sync based on metadata, along with customizing that information. FCP X also goes a step further if you’re using the GoPro, HDSLRs or cameras that don’t match timecode or time-and-date. They use the audio from the cameras and match up the waveform and then sync the footage up that way. That’s pretty incredible! So if you’re shooting a three-camera production of an interview, FCP X will sync according to the audio waveforms of the person talking, or if you’re shooting a live event, like sports, it will find the similar audio waveforms and sync them up!

In beta right now is Broadcast Monitoring, which uses third-party PCI-e devices and cards, and Thunderbolt, which is still one of my favorite new features on pretty much all new Apple computers. AJA has already updated their drivers at www.aja.com, and feature the new ioXT Thunderbolt device (http://www.aja.com/products/io/io-xt.php), and Matrox and BlackMagic are working on some cool new Thunderbolt devices. You can also do on-set, in-the-field monitoring, as well! In fact, my sources told me Apple was working on broadcast monitoring back in July.

Apple also introduced more robust Chroma Keying controls, so it’s not only easy to do a quick key, you can also tweek it and perfect it, especially if your green- or bluescreen wasn’t lit well. No need to export to Motion or After Effects, plus you can view it in real-time, thanks to FCP X’s 64-bit architecture. Richard also mentioned that Jimmy Fallon and SNL use FCP X’s one-step chroma key feature, which is pretty cool.

Media Relink makes it easy to relink your footage, audio, etc., when you’re exporting or importing items from third-party software, such as color corrected footage, cleaned up audio, etc. It will also find footage that was transcoded, as well, which is great, since many of us prefer to use Apple ProRes and other codecs that are easy to cut with.

Richard talked a bit about my friend Philip Hodgetts (and his partner Greg’s) 7toX , which will allow you to bring Final Cut Pro 7 projects into Final Cut Pro X! That’s right, no more using two different FCP NLEs on old and new projects, just use the 7toX app and you’re ready to go. Make sure you read the information on the above link, because things obviously change when going from bins, etc., to FCP X. It’s only $9.99 and is already available on the Mac App Store.

7toX takes advantage of the new XML 1.1 feature, plus the update allows you to export to color correct in DaVinci Resolve and other third-party color correction apps. You can also “import and export audio keyframes and intrinsic effects parameters such as opacity and scale,” according to Apple.

While you could import and work with layered Photoshop graphics in Motion 5, you couldn’t in FCP X. The new 10.0.3 update allows you to do just that, which is a fantastic feature that many of us loved in FCP 7 and earlier.

Click here is a downloadable pdf file (10.2Mb) that gives the best, most illustrative overview of how you can produce high quality video using BlackMagic Design products that Smarttec can supply and support.

The drivers install components in to applications including Avid Media Composer 6,Final Cut Pro 7 and Final Cut Pro X, Adobe Premiere Pro, Adobe Photoshop and Adobe After Effects. If you have installed the drivers prior to installing any of these applications, we recommend that you uninstall and reinstall the drivers. This will ensure that all relevant components are installed in their required locations.

To remove the Desktop Video software out of your system, simply run the “Uninstall DeckLink” utility which is included on the CD or disk image.

Additional Information

Please check www.blackmagic-design.com for additional information on third party software compatibility and minimum system requirements.

CUPERTINO, California—January 31, 2012—Apple® today released Final Cut Pro® X v10.0.3, a significant update to its revolutionary professional video editing application, which introduces multicam editing that automatically syncs up to 64 angles of video and photos; advanced chroma keying for handling complex adjustments right in the app; and enhanced XML for a richer interchange with third party apps and plug-ins that support the fast growing Final Cut Pro X ecosystem. Available today as a free update from the Mac® App Store™, Final Cut Pro X v10.0.3 also includes a beta of broadcast monitoring that supports Thunderbolt devices as well as PCIe cards.

Final Cut Pro X v10.0.3 includes a collection of groundbreaking new tools for editing multicam projects. Final Cut Pro X automatically syncs clips from your shoot using audio waveforms, time and date, or timecode to create a Multicam Clip with up to 64 angles of video, which can include mixed formats, frame sizes and frame rates. The powerful Angle Editor allows you to dive into your Multicam Clip to make precise adjustments, and the Angle Viewer lets you play back multiple angles at the same time and seamlessly cut between them.

Final Cut Pro X builds upon its robust, one-step chroma key with the addition of advanced controls including color sampling, edge adjustment and light wrap. You can tackle complex keying challenges right in Final Cut Pro X, without having to export to a motion graphics application, and view your results instantly with realtime playback.

In the seven months since launch, the third party ecosystem around Final Cut Pro X has expanded dramatically. XML-compatible software like DaVinci Resolve and CatDV provide tight integration for tasks such as color correction and media management. The new 7toX app from Intelligent Assistance uses XML to import Final Cut Pro 7 projects into Final Cut Pro X. In addition, some of the industry’s largest visual effects developers, including GenArts and Red Giant, have developed motion graphics plug-ins that take advantage of the speed and real-time preview capabilities of Final Cut Pro X.

Broadcast monitoring in Final Cut Pro X is currently in beta and allows you to connect to waveform displays, vectorscopes, and calibrated, high-quality monitors to ensure that your project meets broadcast specifications. Final Cut Pro X supports monitoring of video and audio through Thunderbolt I/O devices, as well as through third party PCIe cards.

Pricing & Availability
Final Cut Pro X v10.0.3 is available from the Mac App Store for $319.99 (Australian) to new users, or as a free update for existing Final Cut Pro X customers. A 30-day free trial of Final Cut Pro X is available at www.apple.com/finalcutpro/trial. Full system requirements and more information on Final Cut Pro X can be found at www.apple.com/finalcutpro.

Apple designs Macs, the best personal computers in the world, along with OS X, iLife, iWork and professional software. Apple leads the digital music revolution with its iPods and iTunes online store. Apple has reinvented the mobile phone with its revolutionary iPhone and App Store, and is defining the future of mobile media and computing devices with iPad.